It’s becoming a habit. Nearly every summer, movie season means Hollywood will destroy San Francisco.

Filmmakers happily pulverized the Bay Area and its landmarks in the 2014 “Godzilla” reboot. And they sicced avenging simians on the region’s pricey real estate in 2011’s “Rise of the Planet of the Apes” and 2014’s “Dawn of the Planet of the Apes.”

Now with “San Andreas,” starring Dwayne “The Rock” Johnson,” Hollywood hammers the City by the Bay with the power of a Buster Posey grand slam. Director Brad Peyton and his special effects team work overtime at utterly and ridiculously annihilating San Francisco. They create a swarm of quakes along the San Andreas Fault that coalesce into a 9.6 behemoth and top that off with a gargantuan tsunami.

To be fair, San Francisco isn’t alone here. Los Angeles and even slabs of Nevada (the Hoover Dam turns to mush) also take it on the chin in the numbskulled, snicker-worthy “San Andreas,” a 3-D extravaganza with cataclysmic scoops of good-golly CGI, Cheez-Whiz dialogue and one-note characters.

Much of what happens on screen defies logic, especially the derring-do antics summoned to get our heroes out of pickles. But that doesn’t matter much. What does in this genre is mayhem — towering buildings buckling and crashing to the ground, terrorized folk running here, there and everywhere. You get more than your fill of that here.

Fans of disaster films such as 1974’s “Earthquake” with Charlton Heston, Irwin Allen’s 1974 “The Towering Inferno” (also set in San Francisco) and Roland Emmerich’s much better “2012” will get their itch for destruction scratched with “San Andreas.” Others should stay home and work on their earthquake preparedness kit.

With a screenplay that serves as a shaky bridge to the action, this is a guilty pleasure that is manufactured more than crafted. Once you realize that, your best bet is to go with the flow and enjoy the unintentional laughs for all they are worth.

What makes this archetypical disaster film fun is its cast. There’s Paul Giamatti as the sweaty town crier, professor and scientist Lawrence Hayes. After a quake slams Los Angeles, he’s figured out that the Big One is yet to come and hopes to get his warning heard nationwide via reporter Serena (Archie Panjabi).

Both are supporting players in “San Andreas,” as screenwriters Carlton Cuse, Andre Fabrizio and Jeremy Passmore latch onto one family’s ordeal. Which brings us to the immensely likable Johnson, who plays heroic, earnest and (of course) buff valiant family man and Los Angeles rescue copter pilot Ray Gaines. Ray is out to not only save his plucky daughter Blake (Alexandra Daddario), who gets stuck in San Francisco with her mom’s sinfully wealthy beau (Ioan Gruffudd, wasted in a nothing role) when the quake hits. He also is intent on mending his broken marriage with Emma (Carla Gugino). That’s a lot on his personal Richter scale to handle, but this is the Rock, and he can handle it. It helps that he seems be well aware that this is schlock and is having fun with it all.

Per usual, there are silly brushes with romance, too, including Blake’s encounter with the handsome Ben (Hugo Johnstone-Burt), who is on a job interview/vacation with his brother Ollie (Art Parkinson). When the kiss finally comes between Blake and Ben, you can’t help but roll your eyes.

As for the story line, there are faults and cracks aplenty. But “San Andreas” does know where its epicenter must be: overdone, loud, anything-but-realistic and enthusiastic destruction sequences. It is here that “San Andreas” stands on somewhat solid ground.